I hope I'm posting this in the right place. Moderators feel free
to move if you'd like.

I recently found a fiscal sponsor for my project. I want to do
fundraising on my website through paypal. The problem is that my
sponsor is not very tech-savvy. Is it ok for me to collect
donations on my website through MY paypal account, and then give
the funds (or their percentage) to my sponsor? I know the
opposite situation is the typical scenario (sponsor gets money -
takes out their share, then gives money to me.) My sponsor
doesn't have a problem with this - they trust my honesty. I'm
just curious to know if it is legal?

It's legal just not tax-deductible. Contributions have to be made
directly to the organization. If people give you money and you give it
to the organization, then you can take the tax deduction. The pay to
line on the check determines whether it's a charitable contribution.

I'm new here. I posted the newbie intro and came over here. I helped
produce a documentary for a local TV station back in the 70's and
haven't been doing anything since. As I said in my intro, I have
several historical documentaries that are in pre-production. One of
the most important things that I'm looking for is a good producer so
I can get the financing for the completion of the first project. The
companies that I plan to approach for funding are not willing to
give money to someone with no track record. I have two production
companies in mind but, as usual, they say they will get back to me.
I'm not holding my breath. What kind of advice can you give me about
getting the financing started? Should I just contact the companies
with the story and hope for the best? Thanks for the suggestion for
Shooting People in a previous post. I signed up there.

Doug, I watched the trailer for the 51 Birch Street doc. I'm very
impressed! You have a great one there. I would love to see it but,
the Nov. 3 showing in SF is in conflict with me being in Ohio at
that time. And all the others are too far away. I'll be working on
the history doc I'm trying to put together. I'm basically doing
everything right now. I'm writing narration, shooting script, review
of existing film and interviews, document selection and placement,
interviews with experts in the field, etc. This project will take a
few years to complete.

Thanks, Gary. It's scheduled for a one-week run in SF, and if enough
people show up, it can easily be held over. So don't give up yet.

As for getting fundraising started, I suggest you attend as many
markets (IFP, Sunny Side of the Doc, BritDoc), festivals and pitching
forums (Toronto, IDFA is the best) as possible and start to introduce
yourself around, familiarize yourself with the Commissioning Editors
and see how it all works.

Hello, by the looks of the posts here this sounds like a good place
to get some advice. I am a post production professional (with a
steady job!) that is interested in writing my first doc. I have...a
million questions but I'll keep it to two (for now!). The first: If
I am one of the main subjects within the story how much should I be
involved with in the process? (ie bringing on another writer or
interviewer). The second: Where can I get some solid advice or
resources on the form of documentary writing?

I am in the process of doing a investment memorandum and have a
question regarding the way documentary films are sold and revenue
distributed. Is the documentary model the same as the fiction
model, in that net receipts are distributed between the distribution
company and the producers/investors? Or does the distribution
company simply buy the rights, giving them all the receipts? For
example, the film Wordplay "sold" for 1 million. Is that 1 million
the end of the revenue for the filmmakers as far whatever
domestic/international/theatrical/dvd rights were agreed upon or
will the filmmakers get a percentage of film receipts as well?

I'm having trouble updating my personal info. When I submit it comes up
error.
Also
I am looking for informantion about fiscal sponsors. I have one
interested but they want to know how. Also looking for an example of a
contract between my LLC and the fiscal sponsor 501c3.
I appreciate the help.

Ken, there's no set rule to your first question. As for documentary
writing, most docs these days aren't pre-written or scripted. Tend to
be shoot first, "write" it in the edit room (if there's even narration
at all, that is).

Justin, it's pretty much the same regarding the kinds of sales to
distributors you refer to (the big "Wordplay" ones), that are the big
exceptions, btw. It's one in a thousand docs, at the least, that make
that kind of a sale. And in almost all cases (including Farenheit
911, I've heard), the advance is the last money the filmmakers ever
saw. And don't forget that in that advance the filmmakers are
required to pay for the deliverables, which can take a huge bite out
of it.

Hi,
I am working on a documentary following rape survivors through
a rape clinic in South Africa. I am shooting the project in HD
format. I would like to backup all of the footage on an external
hard drive. Does anyone have advice about which is the best
external hard drive on which to do this? I am looking at Western
Digital, Lacie and Seagate. Also, is it better to go with a
larger drive, i.e. 1TB or break it down into 2 500GB drives. Do
the larger drives have more problems?

Single drive 1TB units not generally available.
The cost/GB sweet spot is around 350GB. Seagate.
Are you backing up HDV, HDCAM, DVCPROHD, or HDCAM-SR footage?
All have different needs - from USB to Fiber Channel connections and
from a single drive to RAID arrays.

It's not 1TB drive - it's two drives in a box. Read the description.
I'd forgo the huge single unit and get multiple drives as you go. HDV
uses the same space as miniDV - a 350GB drive holds a lot of footage.
Cheap so you can buy two and make two backups.

This is the first Documentary I have been involved with. We are
doing a piece on the history of the Negro Baseball League and the
Negro Baseball League Museum. We are putting a business plan
together and I have to research potential income streams for the
following,
1. aquisition from a network and cable station
2. potential sponsorship income
3. Advertising Income
4. DVD sales
5. E commerce
6. cd soundtrack income
7. Grant $
8. Military Sales
9. Infomercial Sales
10. Licensing Income
11. Ancillery $$

Is the museum sponsoring your project? How many visitors do they
get a year and what partnerships do they have with other
organizations -- both baseball and African-American orgs? I would
think your best bets are grants and DVDs sales through the museum's
existing network of contacts. Depending on how the project is
developed, you may be able to sell it to PBS or a cable channel, but
don't expect to make back any money from those sales.

Shaking the Money Tree, 2nd Edition: How to Get Grants and Donations for
Film and Video: Books: Morrie Warshawski by Morrie Warshawski.
Barry, I enjoyed talking with you the other day. I know you are pressed
for time so grants may be out of the question. I'm on my first doc that
needs funding. It seems to me that finding a 501C3 partner is my best
bet. Good luck and keep me in the loop. We're both doing baseball
related stuff.

I'm new here and looking for further guidance. I want to get into
documentary film making to cover issues in children rights
(broadly). I studied Communications for both my BA and my MA and
have a day job to pay the bills. I've been reading more and more
about docs and I want to do it for a living (or try anyway).

Any ideas on where to go from here? If you ask me what I'd like to
be doing (in the field) in 10 years, I'd say producing and still
writing, which is what I'd like to do soon.

I hope this is a clear intro and I hope you guys will be able to give
me some constructive advice.

I'd go with word processing and skip the specialty software. For a
treatment, you don't need to go shot-by-shot. I assume you are
asking about a script or at least a paper edit guideline.

Some folks live by using the same format as for a fiction script.
Personally I prefer the side-by-side version where I put my visuals
in the left column and the audio (interview bites, sound on tape,
music, etc.) in the right column. You may find you like doing it in
word processing or you may find that color-coded index cards on a
wall work better for you.

I'd recommend investing in the book, "Directing the Documentary" by
Michael Rabiger for further ideas on how to do a paper edit. Some
folks find it very old-fashioned since you can now do all the layout
directly in to a nonlinear editing program, but doing a paper edit
can be really helpful as you are starting out to help you get your
head around the story you are trying to tell.

I'm half way through my first documentary rough cut and I'm in need of
some music. I'm a graduate student so I definitely need royalty free
music. The types of music range from woody allenesque jazz to 1960s
lounge music to classical piano interludes to kitschy italian
concertina music. Have any ideas? I also was wondering if there was an
easy place to access music which has had its copyright expire? Any
advice welcome.

Doug,
I appreciate the advice. I have actually already tried that. The point
of my question was to weed through the 6,220,000 hits that Google
throws your way for a "royalty free music" search and see if there was
a prefered royalty free music clearing house. Is this site,www.royaltyfreemusic.com, your best pick and if so have you ever used
it? If it is then I guess you're not in bad company as Google also
picks it as its number one site. Any further helpful advice would be
appreciated.

I have a friend that might be able to give us some advice on suggested
music but he wouldn't know about royalty free stuff. It might help
limiting the search by having a title. Let me know if you would like me
to contact him.

try your local news station. They may have footage and be more open to
you. Perhaps even do a story on you making a doc. All of the networks
have stock footage companies that sell footage. I'm sure you could buy
something if you want.

Hey, guys. I've been very interested in docs and doc making for
awhile now. I intend to go over seas within the next two years for
an early "OE" and have decided to invest in some equipment before I
go as I will be going to some very interesting places. I've been
looking at 'Camcorders' and "pro camcorders" for awhile now... But
to be honest I just want something efficient and well, cheap (as
cheap as possible). Can anyone make some suggestions as to what
would be good to look at? I have a budget as I'm a student who's
currently jobless =P 2.5Grand (US dollars) would be my limit (not
including accesories). I would prefer to spend less of course but I
do want something decent! Any tips / suggestions would be greatly
appreciated!

Are there any set guidelines for music credits? I have about 4 songs
and I'd like to know what I need to include in the credits for legal.
They are all christian hymns from the public domain performed by
people in the film.

This may be of interest to emerging documentary filmmakers for a
mentoring and major networking opportunity...

The Garrett Scott Documentary Development Grant will fund two first
time documentary makers for travel and accommodations at the Full
Frame Documentary Film Festival, April 12-15, 2007. For four days,
grant recipients will be given access to films, participate in master
classes and be mentored by experienced filmmakers.

About the Grant: Garrett Scott made a distinctive mark in documentary
films during his short career. Without any formal training in film, he
directed CUL DE SAC: A SUBURBAN WAR STORY, examining the case of a
methamphetamine addict who stole a tank from an armory and went on a
rampage through the San Diego suburbs. The film prompted Filmmaker
Magazine to cite Scott as one of 25 New Faces of Independent Film. He
went on to make OCCUPATION: DREAMLAND, co-directed with Ian Olds,
about U.S. soldiers in Falluja, Iraq. It won prizes at Full Frame and
the Independent Spirit Awards. Both films were broadcast by the
Sundance Channel. In 2005, Scott died of a heart attack at age 37. His
friends, family and colleagues established this development grant to
help other emerging filmmakers reach their potential. The grant's
selection committee looks especially for filmmakers who somehow
fulfill Scott's example, by bringing a unique vision to the content
and style of contemporary documentary making.

Criteria: Applicants must be a U.S. citizen or green card holder,
living in the continental United States; any age 18 or older. By
"first time filmmaker," we mean someone who is in the early stage of
their documentary career and not yet received significant recognition
(such as major festival play or broadcast). All applicants should
anticipate finishing their first project by March 2008. You can still
qualify as a "first time filmmaker," even if you've made shorts or
student projects or worked professionally as a crew member on other
people's films. Or if you've recently completed a documentary that
hasn't been released yet. The grant is open to students and
non-students alike.

How: Applicants should send a 2 page letter addressing these areas:

1) Project summary: Describe the documentary you're working on. It
doesn't matter whether the film is a short or a feature. Describe the
characters, structure, visual approach and what stage you're at.

2) Director's statement: Describe how you came to filmmaking and how
you've trained as a filmmaker. It doesn't matter whether you went to
film school or are self-taught. Describe what you want audiences to
take from your film.

In addition, if applicants have a 5-10 minute sample of their work or
work-in-progress, please send that as well on DVD or VHS (NTSC
format). A sample work isn't required to apply. But if the selection
committee has to choose between several strong applicants, the sample
work will become a factor in making the decision.

Submit two copies of both the letter and work sample along with
your...

I am working on my first feature length documentary about the
destruction of the oldest Drive-In movie theater here in Illinois.
There was a very heated battle in the local city council to save the
theater, but it fell on deaf ears and the theater was torn down. I
then made it known that I was making a film about the poitics that
killed the theater, and have been interviewed a number of times in
the local press about the film. The problem I have is that I
honestly would like to get the people responsible for the theaters
destruction to appear on camera to explain their views to the
audience. How should I approach them and extend an invitation to
them even if they all ready know that the final film will not
necessarily show them in a favorable light? And I how do I assure
them that I won't "Michael Moore" them if they agree to an
interview, i.e. attack them as soon as tape starts rolling? I am
trying to draft a letter and am curious as to how others might have
handled a similar situation.

I would write a letter that states pretty much what you described in
your post, Don. And I'd let them know that if they don't appear on
camera to defend their position, you'll be left only having the other
side represented. I see nothing wrong with telling them where your
sympathies lie, but emphasize that you want to be fair, not have the
film be a Michael Moore-like screed.

Hello Doug and Erica,
First of all, thanks for all the advice you so freely give. Thanks
to Erica for the info on the Garrett Scott Documentary Grant. I will
be applying for the grant.
I have been away, in Ohio, for a few months. I am working on the
aviation documentary about Charlie Taylor. He was the man who built
the engine that made it possible for the Wright brothers to fly. I
am also planning a video shoot with Wright State University sometime
in February or April. This video is separate from the documentary.
We will be taping in HDV. It will be an period piece interview
taking place in 1948. The author/historian of the Taylor book will
portray Charlie Taylor and I will be the reporter. I discussed the
editing process with a university media producer and he stated that
they have Final Cut and Adobe Illustrator. Which do you prefer or
what other editing program do you use.

Thanks Doug, I'll take a look at both products. I believe that
Wright State uses FCP for most of their work.

How have the screenings for 51 Birch Street been going?
Successfully, I hope. I sent an e-mail to Copacetic about getting
information for showing 51 Birch Street here in Sacramento, but
never received a response. What kind of information do I need from
you to have 51 Birch Street shown in Sacramento, Ca. They have two
theaters here that show documentaries, The Crest and Tower theaters.
If you can send me some information, I can contact both theaters to
see if they will be interested in showing it. I have also been in
contact with another producer here who will be showing his first
documentary film in Davis, which is just up the Interstate from
Sacramento. His film is about recovering MIA flyers from WWII. Check
out the trailer at http://www.BentStarProject.org/.

Gary, sorry about not responding - I travelled a lot in Decmember and
have gotten ridiculously behind in answering email.

It would be great if you could contact those theaters. Would be
easiest to direct the programmers there to our website, which has a
trailer, reviews and all sorts of info about the film:www.51birchstreet.com

Screenings for 51 Birch Street have gone great. We're still showing
in New York City, 11 weeks after opening there, and the NY Times lead
critic, A.O. Scott, named it one of his top ten films of the year.
We've already shown in about a dozen cities and have at least another
dozen lined up and counting.

That is fantastic news. I'm really happy for you. 11 weeks!! Even
the big money pictures don't last that long. I'll contact the
theaters and get the information to them. I've told everyone that I
come in contact with about 51 Birch Street. Hopefully, we can get a
buzz going here and have a showing in Sacramento or Davis. If you
are not familiar with the area, Davis is a college town (University
of Davis). I'll see what I can do to stir something up.

Hi Don,
I'd do what Doug suggests. Give them the opportunity to tell their
side. If they give the "no comment", you can mention that in the
documentary. Steve is right. Check out http://www.16right.com/. It
is a site for a documentary about the closing of small airports
around the country. This one in particular is about Van Nuys airport
in California. Click on "One Six Right the Movie", and then click
on "Video". You can see the "opening sequence", "flight", and "Look
Ma - No Hands!". This might give you some ideas on what you want to
show in your doc. We are about to lose our last drive-in complex
here in Sacramento. They plan to put an indoor multi-screen building
in its place. Good luck with your project.

Thanks for your wonderful comments! I typed up my letters and sent
them all off last week. Needless to say, I haven't heard any
responses yet, but that was to be expected. I am still hopeful that
at least one of them decides to do it.

I do have another question if that's OK. The local (Chicago) news
stations all did extensive coverage of the drive-in fight and I am
dying to get permission from them to include some of their footage
in the documentary (especially since I didn't start work on my film
until AFTER the final vote was taken to kill it). How is it best to
approach them? The only station I tried to email was the local ABC
affilate and I got a curt response "We don't do that" (that is their
direct quote, I swear). Don't most local stations have rights that
can be purchased to use their footage if properly credited? And how
do I go about asking?

Thanks again for the help. For anyone interested you can check out
my website at wondersense.com for more information and updates about
this documentary.

Don, I would say that if you feel you need their permission you
should make direct contact with somebody in production. You may do
well with their ad or outside production departments, who would have
access to the footage and understand the concept of dealing with the
outside world.

Failing that, there is probably a wayt you can work this in as fair
use. The presentation may not be the way you envisioned it, but there
may be a media-covering angle that will at least get the footage in.

i would speak to an entertainment lawyer about a fair use argument,
and about rights clearances in general. but in persuing permission
from the station i wouldn't talk to people in production but the
general manager or someone who actually has the authority to license
footage.

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